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Tuesday
Mar112008

Ken Price, Rebecca Warren and Charles Long: What Turds Can Tell Us About Complicity and Implication


From Bataille’s attention to Dali’s dirty pants (for which he was banned from Surrealism), to the more recent hype surrounding Chris Offili’s elephant dung paintings, shit appears again and again in art as the scene of a crime. We can give this criminal scene a history - Dominique Laporte wrote that “to produce is literally to shit.” In his historical research on the subject, Laporte writes that the rise of private property and the modern subject is coincident with the belief that human urine and feces – once believed to have hygienic, medicinal and cosmetic values – were removed from public view and disposed of according to state law. With imaginations framed within the same economy, utopian socialists would later recommend tax payment in feces so that the world’s soil would never be depleted of its fertilizer.*

We might pause a bit over the appearance of feces as it has appeared lately on pedestals and in the current Whitney Biennial. In the 2006 exhibition of Ken Price at Matthew Marks, each pile on a pedestal had the same appealing surface that Price has been working with for several years now. Price’s earlier works using this surface technique are amoeboid forms, often referred to as waves, but they are more akin to figures in that they perform as little ego personalities that beckon and labor for attention. The more recent piles of excrement, as excrement, don’t allow the figure into the work in quite the same way, so anthropomorphic ego is cast differently here. The charm of a beckoning personality completely fell away for a perverse fascination with the surface detail of a clump.

The overall tone of the Ken Price exhibition was that of a dare, asking us to buy into the neutral equivalence of capital and human waste. But across the street, in a smaller space run by the same gallery, was the work of Rebecca Warren, also a ceramicist whose “figurines” of unfired clay were an entrancing pre-oedipal delirium of breasts, rosettes, smears, slabs and fissures. These went beyond erotic seduction, puncturing time with the kind of perverse fascination that a part-object can arouse. While not so explicitly excremental as Ken Price’s turds, in Rebecca Warrens’ sculpture the entire surface of the world could be opened out by the materiality of vision as intimate and other, and in defiance of figurative representation while at the same time embodying it.

There is something similar in Charles Long’s extruded forms, currently at the Whitney Biennial, so leggy and fragile that their call upon space seems to exceed or fall short of figuration while at the same time haunting and imploring upon the space of our figurative imagination. That these figures are modeled upon the feces of herons only complicates the desire to figure them out, as though the fact of their graceful origin should stamp them out in space as the creatures they are, but in the end can only leave them hanging limp and in need of support. One might be tempted to think of Giacommetti, but this is an existential crisis of a different sort.

There has been a lot of talk lately about the role of complicity in contemporary art. For now, I use these samples of excrement as a way to describe how the fact that “to produce is literally to shit” provides the scene of a crime played out differently by Ken Price and Charles Long.

Ken Price’s complicity began with his early interest in ceramics as a tourist trade display, with his interest in the migration from one “aesthetic” to another in the form of the coffee cup, and in his interest in crossing the breach between art and craft. He plays the game and teaches us the rules as he breaks them. Price’s new invitation to complicity, however, that of the chameleon’s dare, only works because we already know the score.

In viewing Ken Price’s giant turds, our “crime” is to be completely seduced by their beautiful finish, and to take some satisfaction in the fact that the joke is on us. Complicity breeds contempt, and we seem to be eating loads of it these days. Charles Long, and for that matter most of the artists in the Whitney Biennial, are not interested at all in complicity but in what it means to be implicated.

The difference between complicity and implication has as much to do with the form of the object and its surface detail as it has to do with varying structures of our vision. The detritus of a polluted river can have as much visual interest in Long's work as Price’s surface technique, but it is altogether of a different order. Price's turd appeared through the gallery window - in a storefront - and the works of Rebecca Warren and Charles Long are comparatively un-photogenic, but no less - and in fact more- engaging. Further, while his sculptures are far from photogenic, Long’s need to exhibit albumen photographs of heron droppings beside his sculptures of those same droppings catches us in our nostalgia for the real, and our nostalgia implicates us in the disappearance of the real that we long for.

*Dominique Laporte, History of Shit, Nadia Benabid and Rodolphe el-Khoury, trans., MIT: 2000, p. 131.

Photo credits:Ken Price,Bulgogi,2006,Painted reinforced composite fiber,86 x 63 x 84 inches,218 x 160 x 213 cm;Ken Price,Lower,2006,Fired and painted clay,11 x 19 1/2 x 18 inches,28 x 50 x 46 cm; Rebecca Warren, In the Last Ditch I Think of You,2005,Reinforced clay and plinth,69 x 37x 24 7/8 inches;Rebecca Warren,M,2005,Reinforced clay and plinth,72 x 21 3/4 x 29 inches; 183 x 55 x 74 cm. Images of Price and Warren, Courtesy of Matthew Marks. Charles Long, Untitled, 2006, papier mache,, plaster, steel, synthetic polymer, revier sediment, and debris, 144x72x7". Collection of the artist, Courtesy Tanya Bonadkar Gallery, N.Y.

Reader Comments (18)

Related to this posting on the properties of excrement is the tasting of wine - read this and the response on http://www.artworldsalon.com/blog/03/16/taste-v-price-why-critics-dont-matter-ch-36/" REL="nofollow">Artworld Salon.

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